1989
Big Machine Records
Those who have come a bit late to the party have only now declared that Taylor Swift has gone ‘pop’. It has been brewing for some time, but with her current homage to the ’80s, there is not a hint of the ringlet haired country girl that stormed onto the scene with teenage tales of boys in pick-up trucks and girls who have wholesome values. The new version of Swift is grown up, lives in New York and is as sassy as her girl next door nature will allow.
Swift has the type of pulling power that few of this generation can lay claim to. While U2 have had to force their latest album onto people for free, Swift recently released eight seconds of static on iTunes that managed to top the chart in Canada. Welcome To New York has in your face synths, solid beats and electronic handclaps that signal the intention from the get-go with Swift effortlessly offering up one of those never leave your head melodies that she has made a habit of.
No longer writing of her teenage years, Swift’s tunes have evolved at the same rate as many of her listeners. The break ups are still raw, but they have a more adult feel to them as Swift embraces her sex appeal on Style, offers relationship advice on How You Get The Girl and balances angst and redemption on Clean.
1989 is steeped in the sounds of the radio during Swift’s childhood and serves as the confessional singer’s diary of the past two years. Taylor Swift is deservedly the biggest act on the planet and has always had the chops to back it up.
5 stars
CHRIS HAVERCROFT
